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A RARE OVAL SONGHUA INKSTONE INSCRIBED WITH IMPERIAL POETRY, ENTITLED ‘INKSTONE IMITATING HAN DYNASTY ROOF TILE FROM WEI-YANG PALACE’ 清乾隆 松花石'倣漢未央磚海天初月硯' China, Qianlong period Size.14.5x9.5x3.9cm inscription: '未央之甎,胡为署建安年? 或三臺之
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06月24日 晚上6点 开拍 /3天2小时
拍品描述 翻译
A RARE OVAL SONGHUA INKSTONE INSCRIBED WITH IMPERIAL POETRY, ENTITLED ‘INKSTONE IMITATING HAN DYNASTY ROOF TILE FROM WEI-YANG PALACE’ 清乾隆 松花石'倣漢未央磚海天初月硯' China, Qianlong period Size.14.5x9.5x3.9cm inscription: '未央之甎,胡为署建安年? 或三臺之所遗,坠清漳而濯淵。 似孙不察,谬为题笺。 形则长以椭,声乃清而坚。 嘉素质之浑沦,浴初月于海天。 师其迹而不承其譌,是亦稽古之一助焉。 钤 “乾, 隆' (The brick of Weiyang—why is it inscribed with the Jian’an reign date Perhaps a relic from the Three Terraces, it fell into the clear Zhang River and washed its depths. Shisun, lacking discernment, wrongly annotated it in his notes. Its form is elongated and oval; its tone clear and firm. Praising its unadorned, substantial quality, like the first moon bathing over sea and sky. I follow its form but reject its errors; this too aids in the study of antiquity. Sealed: Qian, Long) Note A similar inkstone is in the collection of the National Palace Museum, Taipei, reference 故文001607N000000000 Qing court inkstone production was established during the Kangxi reign with Songhua stone as the core imperial material, forming an exclusive supply system in which northeastern tribute stones were fully monopolized and controlled by the Imperial Household Department and reserved strictly for the imperial court without entering the civilian market, thereby endowing Songhua stone with strong geo-political significance and elevating it as an indispensable material within the Qing imperial hierarchy rather than an ordinary scholar’s inkstone material. By the Qianlong reign, court inkstone production had developed a highly systematized typological antiquarian practice based on the Inkstone Manual (Yanshu), enabling standardized and reproducible production of archaistic forms, among which the “Sea and Sky under the First Moon Inkstone” imitating Han dynasty Wenyeang Palace roof tiles stands as a representative example, completing a threefold transformation of Han architectural relics from imperial orthodox building remnants into inkstone objects and finally into carriers of Qianlong’s imperial inscriptions as textual manifestations of sovereign power. Court inkstone production was not merely a craft activity but a state-level system coordinated through the Imperial Workshops (Ruyi Hall) for design, the Workshops of the Imperial Household Department for production, centralized supervision by the Imperial Household Department, and final imperial review by the emperor himself, while archaistic practice essentially functioned as a form of sovereign re-inscription of object identity achieved through re-engraving existing inscriptions, restructuring object genealogies, and overwriting original historical information with imperial poetry, thereby systematically constructing and reinforcing cultural orthodoxy within an integrated framework of imperial material hierarchy, antiquarian regulation, mechanisms of power expression, and court production organization. 类似的砚台藏于台北故宫博物院,编号故文001607N000000000。 清代宫廷制砚以康熙朝确立松花石为核心御用砚材,形成东北贡石由内务府全程垄断管控、专供皇室而不入民间的独占性来源体系,赋予松花石强烈的地域政治属性,使其成为清代御用等级体系中的核心材料而非一般文人用砚;至乾隆朝,宫廷制砚发展出以《砚谱》为依据的系统化类型学仿古机制,实现标准化与可复制的仿古生产,其中仿汉未央宫砖“海天初月砚”为典型代表,完成汉代宫砖由帝国正统建筑遗存向文房砚台再到承载乾隆御题的皇权文本载体的三重转化;宫廷制砚并非单纯手工艺活动,而是由如意馆设计、造办处承造、内务府统筹、皇帝亲自终审所构成的国家级生产体系,其仿古行为本质上体现为皇权对器物历史身份的再编码与权力性重写,通过改刻旧款、重构器物谱系并以御题覆盖原有信息,从而完成对文化正统性的制度化建构与强化,集御用等级体系、仿古规制逻辑、权力表达机制与宫廷生产结构于一体。

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